Music

May 25, 2016

For those who don't regularly bide their time immersed in the intellectual circles of artsy musician types, the term "new music" can be confounding. Like its kissing visual cousin "contemporary art", it sounds and feels too vague to be of practical use as a definition of a movement or genre. Though, as a point of comparison, one can argue—and many of us do—that the mainstream genre term "indie" hardly serves as a denotation of precision, since much of the music categorized as such is not produced independently but is rather the product of sub-labels owned by corporate labels, so how then can "indie" mean independent in any real sense, huh?! Um, haha, yeah, I'll just take a breath here. Out with the bad, in with the good.

Okay, so when we are confronted with the term "new music" it is reasonable to ask two questions: 1) How new is new? and 2) When is new not new anymore? If we look for answers by researching the programs performed by ensembles of the genre, we will, without fail, find ourselves frustrated. As a general rule, new music concert programs primarily focus on the work of living composers, but what does it mean if a piece performed was composed 30, 40 or even 50 years ago? Is it still new or does it qualify simply because the composer is still kickin' around? Maybe. And what if an ensemble performs the world premiere of a piece in the course of a varied program? Does it make that piece more new than the other new works in the program? Perhaps. But how would we describe it then? New-new? Ultra-new? Super-duper-mega-new? Dunno.

In short, as with contemporary art, the exhibitions of which can represent a time frame anywhere from the 1930s to last week—i.e. longer than the average lifespan—we must let reason go, relax, and open ourselves up to the work as it is presented. And, in doing so, hopefully come to an understanding that cannot be gained while our brains annoyingly chatter away about logic and time and historical context.

Now, when I make a grand statement such as the above, I of course expect you highly intelligent consumers of information to test my assertion by having the experience yourselves. And your next best chance to achieve this sublime sensory comprehension of new music is on Friday, June 3, 2016, when Milwaukee's own Present Music performs its 34th Season Finale at Turner Hall Ballroom.

Featuring guest conductor David Bloom, conductor and founding co-artistic director of the much lauded New York-based Contemporaneous, the concert program is jam packed with challenging pieces. Click, watch and listen, people:

That last one is just about as new a piece of new music as you could hope to be performed, really. Though there's no evidence—or need—to suggest we should, we'll go ahead call it ultra-new, as I'm pretty sure it lost its super-duper-mega-new status once it turned one year old.

Since David Bloom was among those to commission Still Life initially and he happens to be the guest conductor for Present Music's concert, I wondered how much of a role he'd played in deciding on the full program for the Finale. I sent him an email, to which he kindly responded:

"Kevin [Stalheim, artistic director of Present Music] was very interested in hearing my thoughts on shaping the program, so we designed the concert collaboratively. He encouraged me to bring some repertoire that hasn’t been done in Milwaukee, which turned out to be something of a challenge since Present Music has done so much great new music that I know and love. Kevin gave me some broad strokes about what he had in mind for this season finale, and he went for my wildest dream pieces."

Now that's exactly the situation you want as a guest conductor, isn’t it? Yes, yes it is.

Bloom also expressed his admiration for the Present Music organization and its work with genuine enthusiasm as well as his excitement at having this first opportunity to work with its musicians:

"I've been a fan of Present Music from afar since I learned several years ago about the amazing work they do, so I was elated to see a note from Kevin inviting me to conduct a concert with the ensemble. Present Music is a fantastic example of a group whose work locally has gained a much-deserved reputation nationally for excellent programming.

I was very excited to take the invitation initially because of the opportunity to work with such a great group of players, but the reasons for my anticipation have only grown with time. The more I look into the past programs of Present Music, the more amazed I am at the ambition and innovation that the ensemble has presented for the people of Milwaukee for 34 years. What's more, the organization's deep community ties through its engagement programs and impressively large following demonstrate that Present Music will continue to be a catalyst for musical creativity well into the future."

Ah, it always feel good to get props from the outside, reminding us that we should never take for granted those exceptional groups and individuals living and working and doing good in our own midst.

Present Music's 34th Season Finale is on Friday, June 3, 2016 at Turner Hall Ballroom, 1040 North 4th Street. Get your tickets here! Added Bonus: There is an after party, featuring the musical stylings of local band Painted Caves, described by their record label, Amarrass Records, as "Middle Eastern-influenced psychedelic grooves meet California surf rock." For those of you who've never heard them, that'll be even more ultra-new music!

January 21, 2016

For the intellectually curious and the infinitely patient among you, the results of the survey I recruited y'all to take waaay back in November are now available for download here. Well hot diggity, we can hardly believe it, right? Yup diggity.

As some may recall, the survey was designed to examine the relationship between social media network communication and the development of artistic collaboration. Also, it was created to get me some Stats learnin' credits to apply toward the long-delayed completion of my BA in Comparative Literature. So how did I/you/we do? I/you/we got an A, people, so nice work!

Anyhoo, the results are presented in the standard APA style of a quantitative study. While the prospect of reading an academic paper may sound comparable to the oh-so pleasurable experience of eating sand, this one's not that bad—really, I swear. Plus it's about art and you love art, so there's that.

A sincere and heartfelt thanks to everyone who participated and shared the invitation with others! In the most literal way possible, I could not have done it with you. Hooray for Us!

As most of you have no idea, I was recently accepted back as a student at the University of Wisconsin-Milwaukee (UWM) after a decision of I'll-just-take-a-semester-off somehow turned into I'll-just-take-12-years-off—HA! The goal? To once and for all finish up my degree in Comparative Literature. Shout-out to the Comp Lit Geeks!

Anyhoo, one of the required joys of this educational process is the successful completion of a Stats class—Yuck! While I hold all Masters o' Math in very high regard, working with numerals is not my greatest strength. Happily though, I have been afforded the opportunity to turn Yuck! into Yay! by focusing my individual research on the subject I love best: Art in all its forms.

With that in mind, I have created a survey examining the relationship between social media network communication and the development of artistic collaboration. Interesting, no? Yes!

Artists of any and all disciplines are invited to take part, so if you're one of those CLICK HERE!

And, because I know y'all are curiouser than the curiousest cats on the planet, results will be posted on this here blog once the data analysis is compete.

Rest assured, all of your responses will be kept strictly confidential. No individual participant will ever be identified with his/her answers. Added Bonus: It should only take about 15-20 minutes.

Take the survey now! Also, share this with your artsy friends so they can join in the statistical fun!

November 11, 2014

In the copious annals of independent bookstores, there seems always to be many more stories of brutal defeat than glorious triumph. Over the past 20 years, this supposition has become so much of a hard truth that the inherently happy-go-lucky chroniclers and archivists of the history of print purveyors often turn despondent and grumpy, and even a cup o' tea and a catnap won't snap 'em out of it.

Well today we have good news for the afore mentioned bedraggled lot, and for anyone else who cherishes the warm atmosphere, personal service and distinctive smell of local bookshops: Woodland Pattern Book Center is turing 34 years old and it ain't going anywhere, folks!

"34 years?!" I hear you cry. "How many is that in human years? Like, a thousand?" Uh, close. Not quite, but close.

Anyhoo, founded by Anne Kingsbury and Karl Gartung, Woodland Pattern has been an intellectual and artistic hub in Milwaukee since 1979. The Center's longevity can be ascribed to two things: 1) a laser focus on small press literature that can be found nowhere else in town, and 2) a complete dedication to the arts through exhibitions, live music performances, workshops, and lectures. Ask Amazon if it can do all that. HAHA! Nope, it can't.

To celebrate this grand history and an equally grand future, a gala--that's a fancy shindig--will be held this Friday, November 14. This year's Honorees are author/former Woodland Pattern board member Martha Bergland and tireless, long-time Woodland Pattern supporter Maureen Magee.

Taking the stage as the main event will be poet/activist/musician Edward Sanders with composer/musician Steven Taylor. Never heard of 'em? Well, lemme fill ya in.

Sanders is a founding member of the legendary--and I mean LEGENDARY--group The Fugs, an underground rock band started in 1964 in New York City. At that same time, Sanders was the owner of Peace Eye Bookstore and publisher of the awesomely titled literary journal, Fuck You/A Magazine of the Arts--well, all right! Over the years, Sanders has published numerous books of poetry and prose.

For Steven Taylor's part, he became a member of the Fugs a bit later on and his additional claim to fame is nothing short of fabulous, having worked as a composer performing with none other than Allen Ginsberg for many years. What?! Yeah, you heard me.

Okay, so the Woodland Pattern Anniversary Gala is Friday, November 14, 2014, at the Kenilworth Studios, Sixth Floor Raw Space, 1915 East Kenilworth Place in Milwaukee. There is a reception beginning at 5:30PM and the program begins at 7PM.

I have it on the ultimate authority--and that is via Woodland Pattern's Director of Marketing & Development, Amanda [Ngoho] Reavey--that tickets are still available. Call 414-263-5001 or click on over to the WP website. You can, of course, also stop by the Center itself at 720 E. Locust Street to get your tix and bask in the glow of a bookstore that keeps right on going.

September 10, 2014

As history tells, during the late '80s and early '90s a fad was born that would soon mature and sweep the nation, becoming terrifyingly inescapable: The Swing Revival. For those of us who were conscious--most of the time--and understandably cynical from the lingering effects of the Watergate scandal, the recession-riddled '70s, the 8-year rule of a clown-turned-President, and the first "real" war led by the United States since Vietnam, it seemed grotesquely nostalgic. How could it be that, after all we knew and all we'd been through, some of us were willingly--willingly!--throwing on petticoated dresses and baggy suits, swinging each other 'round to post-WWII Big Band jazz and jump blues like the world hadn't utterly, irrevocably changed? How, we asked, how?!

Any amount of fair examination beyond our passionately righteous indignation, of course, would have told us that when folks feel extreme levels of stress and worry they seek solace in fun--silly fun, sweaty fun, you-name-it fun! And realizing that, the only remaining rational complaint we can have against these '80s-'90s kids is that they didn't include the hands down best kind of swing jazz at their shindigs, and that is gypsy swing jazz.

Most associated with the brilliant guitarist/composer Jean-Baptiste "Django" Reinhardt (1910-1953), gypsy jazz--or jazz manouche in the fancy French--is performed by small ensembles, with guitar and violin as lead instruments. Given its roots in the Roma culture--do not use the term "gypsy" when referring to the people or culture unless ya want a good talkin' to--the songs often begin slow and then rapidly rise to a blistering tempo, which is perfect for swing dancing.

Keeping this tradition alive locally is Swing Chevron--Allen Russell (Violin), Scott Hlavenka (Guitar), Barry Paul Clark (Bass) and Paul Westfahl (Percussion)--a quartet of highly talented fellers who definitely know how to do it right. How do I know that? Well, firstly, I've personally had the pleasure to hear/see 'em jam at their regular Gypsy Swing Night gig at Von Trier at Farwell and North, and, secondly, I've watched this video more a few times:

Founder Allen Russell recently took the time to share a bit o' detail on the group:

"Swing Chevron is a gypsy swing group that I started so as to play my own original compositions in a more violin-centric swing style. Our guitarist Scott Hlavenka is an old friend of mine and is well known in the Milwaukee gypsy jazz scene. Our bassist Barry Clark and percussionist Paul Westfahl are also well known in the jazz and classical scenes here in Milwaukee and the greater Midwest. Our sound ranges from straight ahead gypsy jazz to New Orleans swing to American Jug Band music."

And with that, you now know enough to say, "That sounds like a band I wanna here!" To which I nod my head, accompanied by an affirmative "Mmhm, told ya."

So, as if by the power of some magical genie whose sole aim is to fulfill this desire you had no idea you had until now, Swing Chevron will be performing this Sunday at Anodyne Coffee's Walker's Point Roastery. Not only that, but they'll be joined by another stellar gypsy jazz group currently on tour, Jason Anick and the Rhythm Future Quartet, whose formidable skill can be witnessed here:

Wow, just wow.

Okay, so the deal is, ya don't have to dance if ya don't want to. Folks who know Cricky will tell ya I'm not much of a swinger... uh, ha-ha, swing dancer, that is--in fact, I'm not either one of those things--but what they'll also tell ya is that I am ALWAYS down to hear some swingin' tunes that make me sway a bit to-and-fro, and you can do that, too!

But if ya do wanna dance--swing or some variation thereof--you are greatly encouraged to do so and you won't be alone in the doing of it. As Russell told me,

"Our last show at Anodyne Walker's Point was wonderful! We work in conjunction with Cream City Swing to make it a swing dance event and last time there was a great attendance, both listeners and dancers."

Okay, so get on down to Anodyne Coffee, 224 W. Bruce Street in Milwaukee, this Sunday, September 14, at 8:30PM sharp. Cover is a mere $10 and ya can't get more awesome gypsy swing jazz for your buck than that, can ya? No, no ya can't.

August 01, 2014

Improvisation is a mighty word that holds the power to stir up fear and dread in the hearts of many artists. It has such potency, in fact, that we tend to shorten it to its far more emotionally tolerable and cute version, improv. Hear how pithy and fun that sounds? A little word like that could never hurt us or make us want to crawl into a dark corner, rocking back and forth, murmuring creepily to ourselves, "You're okay, you're okay, you're okay."

But those who consistently shy away from improvisation do themselves a great injustice as they actively and willingly deny the incredible, complex, hard-to-define experience it offers. With all senses engaged--yes, even your smeller--at a level both higher and deeper, improvisation provides us with the semi-structured freedom to generate artistic moments and works we had no idea we were capable of creating. And, boy howdy, does it feel good!

It is in this spirit that Unrehearsed MKE, the musically driven improv project, was founded back in March, 2013. Now held at its permanent home, The Jazz Estate--recently under new ownership--every first Sunday of the month, it continues to grow and thrive as a gotta-do-that performance opportunity for musicians and artists wanting to shed their comfort zones and get free, baby.

The backstory of Unrehearsed MKE, shared with me by founder/co-curator/drummer/composer/educator Devin Drobka, is an age-old one: A musician starts jamming with another musician who has an idea to create a project so good--in this case Out Of Your Head Baltimore & Brooklyn--that the other musician decides to do something similar in another city--Milwaukee--and BAM! Unrehearsed MKE is born.

How Drobka teamed up with his two fellow curators, double bassist Barry Paul Clark and alto saxophonist Steve Gallam, is equally familiar to anyone who's ever started a project as a lone wolf and also, ya know, has a life. According to Drobka,

"When I started the series I was doing everything and it was great when I first moved back and was trying to just get things happening and I had more time. Then when my life started picking up and I was doing some more touring I was needing help with curating and running it so I asked my good friend Barry to help me out and he did such a wonderful job that it just made sense to have more people involved. Steve joined us and the rest is history to this point. Both are such creative forces that it makes for such an amazing time working with them and having creative stimulation. We talk about this stuff a lot and each brings such a fresh perspective on improvising to their curatorial duties."

The main goal of Unrehearsed MKE is to bring together folks from different musical genres--jazz, experimental, rock, blues, what have you--as well as artists of other disciplines--visual art, dance, video, poetry, whatnot--to collaborate in spontaneous, improvisational performances. As the name suggests, there is no rehearsal, no preparation and no net, so expect the seat of your pantaloons to get a real workout!

As far as the curatorial process goes, Clark and Gallam have essentially the same approach but express it very much in their own individual terms.

Clark: "My curatorial approach often involves trying to put together musicians who I know have strong skills in their craft individually, but who are also very good listeners, and can communicate effectively and honestly in new situations. I think that's the basis of really well done improvisation, just being able to effectively and honestly communicate with others using your craft in a new situation. One thought I put into the curation sometimes, though not always, is to put together 'traditional' ensembles to perform this completely not traditional performance. For example, a string quartet or quintet with violin, viola, cello, bass, piano. Although some of the most non-traditional ensembles are the best, like having trombone, bass, synthesized electronics and percussion all improvising together!"

Gallam: "The curating process, at least for me, is all about variety and group size. I usually keep my groups small, since the other dudes typically have larger ensembles. Aside from many emails, questions, and Facebook messages, that's it! That's curating. The rest happens on the night in question when the musicians finally get together (much of the time they have never met each other before) and then we introduce them and tell them to get on with it. If it weren't for the fantastic group of musicians who genuinely enjoy this music, it would just be the 'Steve Gallam Trio feat. Barry Bass and Devin Drum' and we would do minor-key arrangements of John Philip Sousa marches backwards, and no one wants to see that."

HA! I'd like to agree that no one would want to see/hear Sousa marches backwards, Mr. Gallam, but we all know there's someone out there who would--someone who probably likes to wear a replica Sousa marching band conductor uniform with a few interesting alterations, but I'm just guessing.

Anyhoo, the next session of Unrehearsed MKE is this Sunday, August 3, at The Jazz Estate, 2423 N Murray Avenue in Milwaukee, beginning at 7:30PM. Extra Exciting Bonus: The second of three sets features experimental guru Hal Rammel on electric sound palette with Jay Mollerskov on electric guitar, so don't miss it!

For those musicians and artists who'd like join in on the pithy improv fun on a future date, contact unrehearsedmke at gmail dot com for more intel. Don't forget to tell 'em what you play/do, your availability and what moniker you most eagerly respond to when addressed.

March 31, 2014

For a particular set of sensitive souls who call these United States home, it can be a tad disheartening to live in a country that indisputably values something called "sports" more than something called "art." And while a large percentage of the population will be focused this weekend on what has become the yearly exhibition of collective lunacy known as the NCAA Men's Basketball Championship, the Wisconsin Arts Board (WAB) has decided to step up to the line--yeah, you heard me--for those who self-identify as hardcore art fans by presenting its 2014 Final Four Town Meetings. And the crowd goes wild! Whoo-hoo! Yeah! WAB! WAB! WAB! Okay, that's enough.

Just in case you're attention has recently been pinpointed on trying to mentally encourage spring to hurry the hell up and get here, WAB has been holding these Town Meetings all over the state, talkin' to art fans of all disciplines and gettin' their ideas for what they'd like to see included in the Arts Board's 2015-2017 Strategic Plan. Ooh, pinch me, right? Yeah, go ahead 'cause this is for real, kids.

The bulk of these gatherings have already taken place, however--and here's what's really exciting--the first two of the Final Four Town Meetings have been organized to, as WAB Executive Director George T. Tzougros put it, "ensure that we hear the voices of Milwaukee’s communities of color and those who are younger than thirty." Well, all right and thank you, WAB!

WAB's Final Four Town Meetings Schedule:Thursday, April 312:30-2:30PMThe Martin Luther King Center1531 W. Vliet St., Milwaukee

Thursday, April 35-6:30PMArt Bar722 East Burleigh St, Milwaukee

Monday, April 712-1:30PMOneida Community Education Center2632 South Packerland, Green Bay

Everyone--and I mean everyone--is invited to show up, stand up and speak up as Tzougros and Karen Goeschko, Assistant Director for Programs & Services, lead the discussion and open the floor to your input in preparation for the final plan presentation to the full Arts Board in May. Added reason to participate: Not only can your insights influence WAB's work over the next three years, it can also impact the success of the Arts Board's partnership grant with the National Endowment for the Arts (NEA), so that's a big deal, folks.

Okay then, grab your favorite hardcore art fan foam finger and get ready to share ideas in a respectful manner at one or more of WAB's Final Four Town Meetings!

December 19, 2013

The origin story of an experimental band is rarely different from any other type of band. It normally follows the line, "Well, I jammed for a while with this friend of mine and we came up with some pretty awesome stuff. Then we invited another friend and then another, and--voilà!--the band was born." For a collective, however, this deceptively simple tale of musical group birth often does not end there--it repeats over and over again, delivering joy and at least a twinge o' pain each and every time.

Such is the fluid nature of the collective, with members and instruments passing in and out, and such is the operational state of Speakerdust, the Milwaukee experimental collective with the Best. Name. EVER. I mean, come on, kids! Can't ya just envision yourself sitting cross-legged on the floor, facing the open back of an old speaker cabinet and the light coat of dust resting on the wood suddenly bouncing to life with the first bass and/or drum note? I knew you could.

Okay, so just to get the record absolutely straight and avoid assumptions 'cause ya know exactly what kind of trouble that gets us all in, I contacted Scott Johnson (Drums, Synths) and asked him how Speakerdust was born. He then smartly conferred with his collective-mates and this is their origin story, with a bit more info for good measure:

Speakerdust was founded in December of 2009 as an audio/video art installation entitled "Noir Condo" at the Rosenblatt Gallery at Art Asia. From that point onward, founding musicians David J. White and Alexei Easton reached out to various musicians who participated in what developed into a music collective. Speakerdust is a place where musicians coming from their own respective bands can get together and play music that's a bit different than their own bands and projects. Every Speakerdust performance potentially has a different line up yielding unique sets every show and by design -- the same is true for the studio projects.

Sound familiar? Indeed it does!

Which brings us to the exciting news of the release of Speakerdust's second album, Golden Sessions Vol. 1, due out this Saturday, December 21. Musicians performing on this album are David J. White (Guitar, Poetry, Synths), Alexei Easton (Samples, Electronics, Synths), Jason Nanna (Modular Synth), Ross Oldenburg (Synths, Bass Guitar), Scott Johnson (Drums, Synths).

To bring an air of festivity to the album release, the collective will be performing live on Saturday at the Borg Ward, 823 W. National Avenue in Milwaukee. Along with Speakerdust, the show--organized by Wes Tank--will feature a warm-up session by He Can Jog, silent video synthesis by SMRL and the gold leaf paintings of Renee Bebeau. It all begins at 8PM and a $5 donation is suggested or, in true Midwestern fashion, ya can bring a potluck dish to share!

For those who can't make it, Golden Sessions Vol. 1 will be available for purchase that same day on Bandcamp, where ya give a listen to and purchase the collective's first album, Bronzed, released this past September. My personal fav is "The Laughing Garden" but you can decide for yourself. Musicians on that recording include David J. White (Guitar, Electronics), Alexei Easton (Samples, Electronics), Jason Nanna (Synthesis, Electronics), Scott Johnson (Percussion).

September 26, 2013

If ya haven't noticed, all of Miltown is hyperventilating and fanning themselves over the 5 year-old, 15-day Milwaukee Film Festival moving picture marathon, which kicks off tonight. While we too are as pleased as spiked punch to have the festival back, today we're gonna remind ya that there are other worthy things happenin' in this here town as well. Ya know, just in case you're lookin' for something to squeeze between flicks while ya finish off your stale Raisinets--Yum!

1. Okay, so on Friday the Peck School of the Arts (PSOA) Center Gallery will be hosting the closing reception of Continuum 2013: In Retrospect Denis Sargent. Prior to retiring last May, Professor Sargent taught painting and drawing at the University of Wisconsin-Milwaukee for 25 years, guiding and mentoring students with a legendary firm yet supportive hand--his low Easiness and high Helpfulness scores on the much-hated-by-faculty Rate My Professors website prove just that!

An active studio artist throughout his teaching career, Sargent's later work displays a remarkable range of technique and subject matter, often combining visual composition reminiscent of the meditative works of various indigenous cultures with the themes of war, nature and pop culture. You can download the catalog here, but nothing compares to seeing Sargent's work in person.

2. If the Denis Sargent retrospective doesn't completely satiated your desire for Art with a capital A, why not head on over to the 2012 Greater Milwaukee Foundation Mary L. Nohl Fellowships Exhibition, eh? Why not indeed. With the work of 7 local artists in photography, film, printmaking and sculpture on display, you'll be in Art Heaven--or the secular equivalent--here on earth!

Opening reception is Friday, September 27, from 6-9PM at INOVA, 2155 North Prospect Avenue. The exhibition runs through December 15.

3. The gentlemen of Volcano Choir--don't tell me ya never heard of 'em 'cause that would be a downright lie, and we can't start lyin' to each other now, can we? Nope.--will be playing their little Rock And/Or Roll hearts out at The Pabst Theater on Saturday, September 28.

With the release of Repave, these Wisco tunesmiths have easily won the ears of tens of thousands, even earnin' themselves a spot on Late Night With Jimmy Fallon. [Editor's Note: For some insanely foolish reason NBC has taken down the video of Volcano Choir's performance and I can't find it on the Tubes o' You either. Sorry 'bout that kids.]

Well done, fellers! Also, based on the head bobbin' of the crowd, the young kids really seem to dig ya--18-32 demographic hurdle cleared!

So, you may well be wondering what more Cricky could add to what's already been said about this annual celebration of human noise-making from around the planet, hmmm? Well, all I got is this: It will be FANTASTERRIFIC!

If that's not enough for ya, I will also serve the public good by posting videos of all the performing bands right here so y'all can watch 'em in one place. Sound good? I thought so, too.

First up, taking the stage at 12:30PM, Janka Nabay & the Bubu Gang. But before we give our attention totally over to the hypnotic rhythms/visuals, a bit of an explanation may be needed here as this band is not listed in most of the promo material: Janka Nabay & the Bubu Gang is filling in for Tal National from Niger, who unfortunately ran into visa issues at the last minute--damn bureaucrats!--and had to cancel their appearance. But the show must go on and whatnot, so Janka Nabay & the Bubu Gang will be bringin' it!

Third in the line-up is Milwaukee's longest continually-performing Black Gospel quartet, The Masonic Wonders, at 3:30PM. While the group doesn't have any performance videos I can locate, here's "Just To Behold His Face" from 1967, complete with the always entrancing album cover visual:

And lastly but certainly not leastly--hehe!--the simply awesome and truly global Nomadic Massive, bringing the day to a crescendo at 5PM.

All right, okay, so where ya gonna be this Saturday, September 21--that's tomorrow!--from 12-6PM? At Global Union in beautiful Humboldt Park, that's where. It's free to everyone, kids, so ya got no excuse not to board that train.